A solo show by Noman Bhatti opened its doors to his fine art photography series titled Evolving Selves at the IVS Gallery, Karachi on the 15^th of October, 2024. In this exhibition curated by Malika Abbas, Bhatti unveils eighteen striking photographs that delve into how social, psychological, and cultural forces intricately shape individual self-presentation and self-preservation. By referencing Nietzsche’s existential philosophies and Freud’s psychoanalytic theories, Bhatti investigates the unconscious aspects of the self, while also reflecting on how cultural settings dictate behavior. This exhibition is as much a psychological inquiry as it is an artistic exploration, connecting individual experiences to broader societal patterns.

A central theme of Evolving Selves is the shifting nature of identity. In Illusions of Identity, Bhatti captures the multiplicity of self through a triptych format, suggesting the different facets of a single identity, as though the subject is caught in a cycle of introspection, revealing multiple layers of self. This approach has thematic parallels to Duane Michals, known for his narrative sequences in which repeated images explore complex psychological states and transformations.

The Space Between, presents a haunting exploration of duality and internal conflict. The subject posed back-to-back, evokes a sense of separation or dissociation, as though two distinct personas coexist within a single individual. The motion blur enhances the theme of impermanence and the fluidity of identity, as though the self is constantly shifting, caught between moments of clarity and obscurity.

This composition brings to mind Francesca Woodman’s works, where she often used movement and blurring to create a sense of ghostliness and transition, suggesting that identity is fluid and in constant flux. Woodman’s self-portraits capture a similar sense of vulnerability and multiplicity, suggesting an individual who is both present and absent, defined yet elusive. Both Bhatti and Woodman explore the idea of the self as an ephemeral construct, with movement underscoring the instability and transformation of personal identity.

In Whispers of Longing, Bhatti delves into themes of solitude and vulnerability, capturing a moment that feels intensely personal and introspective. The subject, cloaked in shadow, appears lost in thought, embodying both physical and emotional exposure. The textured overlay gives her skin a weathered look, suggesting scars, memories, and the weight of past experiences etched into her very being. This technique creates an evocative and powerful piece, resulting in an arresting image that invites viewers into a quiet, profound moment of self-reflection. The piece recalls Lucien Clergue’s intimate studies of the human form, especially in his photographs that highlight texture and emotional intensity. Clergue often played with light and shadow to draw out an almost sculptural quality in his subjects, emphasizing their raw humanity and inviting viewers into a private moment of contemplation.

Bhatti’s engagement with Freudian psychoanalytic theory also reveals a more shadowed exploration of self. The darker, surreal images convey the unconscious and repressed aspects of identity, symbolizing the undercurrents of desire and instinct that influence behavior. These works feel almost dreamlike, as if capturing fragments of a memory or suppressed thought. In doing so, Bhatti invites viewers to confront their own hidden motivations, those elements of self which, according to Freud’s framework, remain largely inaccessible yet exert a powerful influence over actions. Bhatti’s abstract imagery might depict the internal struggle between the components of Freud’s model of the mind: the id (instinctual desires), ego (reality-oriented self), and superego (moral conscience), with distorted, dreamlike qualities alluding to the tension between the suppressed desires of the id and the moralistic constraints of the superego.

The works also draw on Situational Attribution Theory and Cultural Psychology, capturing how behavior shifts with varying environments and the influence of culture on behavior to suggest the invisible hand culture plays in shaping identity. This visual representation speaks to how culture subtly permeates and directs individual behavior, often in ways that are internalized and thus invisible to the conscious mind.

These juxtapositions reflect how external situations prompt different behavioral responses, challenging the idea of a stable, consistent personality. The images urge viewers to consider how much of “self” is circumstantial, reacting to external stimuli rather than stemming from any inherent trait. Bhatti’s use of abstraction here is particularly effective, as it allows viewers to see these changes as fluid and adaptive, reflecting the malleability of identity and encourages viewers to reflect on their own cultural conditioning and its unseen impact on their behavior.

The final layer of Evolving Selves draws on Friedrich Nietzsche’s existential philosophy, the perpetual evolution of self, and also illustrates the influence of unconscious forces, a nod to Freud’s psychoanalytic theories. Bhatti uses abstraction to explore the tension between tradition and change. His bold, fragmented compositions and the electric quality of the lines around the figures suggest a struggle against societal expectations, illustrating the Nietzschean notion of the individual’s journey toward self-creation. The dynamic colors convey an actively chaotic, process of change, as his images explore the psyche and the complexities of identity, making powerful visual statements on inner versus outer selves and the fluidity of human nature. The light painting technique recalls the works of Tokihiro Sato, known for his “breathing” photographs in which light trails and blurred forms create an ethereal sense of impermanence. Sato often uses long exposures and light manipulation to capture an ephemeral quality of human presence, similar to Bhatti’s lines that tracing the figure’s shape and portraying the subject’s energy or spirit in flux.

The images are richly layered and disorienting, pulling viewers into an examination of what lies beneath visible surfaces. Each photograph in Evolving Selves offers a different perspective on the multifaceted and ever-evolving nature of identity, drawing on both visual abstraction and deep theoretical frameworks. The exhibit is a significant contribution to contemporary Pakistani art, reflecting global philosophical and psychological concerns through a localized lens, blending philosophical inquiry with artistic innovation. Through complex compositions and mastery in photographic techniques such as light painting, long exposure and double exposure, Bhatti invites viewers to analyze, reflect and navigate their own cultural complexities and to contemplate not just what they see, but also what lies hidden within themselves. Reflecting in both an intellectual investigation and an aesthetic experience, the exhibition offers a compelling narrative that bridges philosophy, sociology and the transformative power of art.

“Evolving Selves, A solo photographic exhibition of Noman Bhatti was displayed at The IVS Gallery, Karachi, from 15^th October to 22^nd  October 2024

Title Image: Illusions of Identity (detail), Archival Inkjet Print, Tecco Photo Matte Paper, 230gsm. Made in Germany, Epson SureColor P9570, Inkset : Epson Ultra Chrome Pro 12 Size: Variable, 2024

All images courtesy, and copyright, of Nomaan Bhatti

References

Clergue, L. (2003). Nudes. Schirmer/Mosel.
Michals, D. (1970). Sequences: Photographic narratives. Doubleday & Company.
Nietzsche, F. (2006). Thus spake Zarathustra (T. Common, Trans.). Dover Publications. (Original work published 1883).
Sato, T. (1997). Photo-Respiration. Bijutsu Shuppan-Sha.
Woodman, F. (1981). Some disordered interior geometries. Synapse Press.